Ballet Theatre Munich

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FOR almost seven years, the Englishman Philip Taylor has been running the German dance troupe now known as Ballet Theatre Munich. You would expect that Taylor, as a one-time member of London Contemporary Dance Theatre, would be interested in the theatrical possibilities of contemporary dance. And he is. Certainly the choreography showcased in his company’s Brighton Festival appearance tries to bring imagery and ideas to the fore. Too often, though, it tries too hard. Or maybe not hard enough.

Cayetano Soto’s idea is to reflect the phases of the Moon in his Plenilunio, an economical work for six black-clad dancers